In any form, What's Going On is an album that everyone should have in their collection; no matter how many times you play it, there is always something else to discover.

To listen to the pioneering Tago Mago in 2011 is to hear the blueprint for much of the leftfield music of the past 40 years, and this reissue will hopefully inspire further invention for decades to come.

Another classic of the genre is born.

With its extra content engineered to appeal to collectors and casual fans alike, this is a justified addition to the many Rumours already making the rounds.

Forget the boycotts and controversy, and marvel once again at the magic that Simon conjured up on Graceland.

Memories are fuzzy, but the music now it's here is pure and gorgeous, the familiar mesh of brotherly voices exquisite as ever.

An indispensable guide to an iconic band.

Similarly reissued in expanded form it presents proof that, even on sunnier days, Mould still had angst to burn.

The Promise is as compelling an advert for the Boss's beautiful, blue-collar soul as you're likely to find outside of the hits; an indispensible portrait of an artist at the top of his game. File this one under American Greats.

In fact, this record's only flaw is that its scale is so awe-inspiring it tends to paper over any weaker cracks.

In terms of conceptual realisation, Liquid Swords is a blueprint for the perfect Wu record.

Released in the summer of 1986, the grammatically challenged Lifes Rich Pageant was their fourth long-player and, with hindsight, a watershed album residing on the cusp between the group's initial chiming-but-oblique garage-rock signature and the stadium-tailored sound of the albums with which they would seduce the world later in the decade.

Though the additions don't enhance the original album's legend, nor do they diminish it any more than the fact that the band sagged once again into artistic complacency after its release.

Twenty years on, Achtung (German for "Attention") Baby still sounds zestful and compelling, with some of U2's all-time highs.

With its harder edge, its hindsight-laden sense of imminent loss and its sheer dirtiness, L.A. Woman comprises a brilliant bridge between the floral madness of the 1960s and the tougher decade to come.

It might only be February, but you wouldn't look foolish calling this one of the albums of the year.

Even though much of the album is inwardly gazing, there are repeated outbreaks of jazz toughness.

This is a glorious summation of Blur's career, placing them firmly amongst the very best bands of all time.

This is about as good and sustained a riposte to the grubby, grabbing times we live in as any artist has mustered, which makes it essential listening.

Fans of the man whose Brill Building work helped shape the pop landscape of the mid-60s can enjoy this interesting collection: 23 mono tracks from the period where Diamond was only beginning to make his name as an artist in his own right.

What remains is a solid collection of pop-soul renderings through which Ocean tries to find himself.

The quality of Georgia Peaches is expectedly sketchy – but such is the energy conveyed that it's tough indeed to not become caught up in the crackly cacophony.

For metalheads who like their music sharp and executed without recourse to compromise, then this is a contender for genre album of the year.

He reaches beyond his home state for a broader sound, and the results are remarkable.

This treasure trove of well-recorded European broadcasts from ORTF and Swedish Radio represents the first official CD set tracking Miles in transition from acoustic quintet to all-out fusion.

The result is a dizzying fusion, marked by its lofty ambition and stunning central performance.

Quadrophenia is one of the few albums of its time that sounds as good today as it must have done then. For once, the term 'masterpiece' is not sold on the cheap.

Jarrett has separated the ingredients into bite-sized chunks. With an audience as ecstatic as the one at the Teatro Municipal in Rio de Janeiro, where his new album was cut in April 2011, this works to the advantage of both. Jarrett builds a rapport with his public, and they can more easily adapt to the changes of mood and genre as his ideas develop.